Cannes Opener ‘Leave One Day,' Produced by Pathé, Delivers Musical Ode to Everyday Life
Filmmaker Amélie Bonnin wanted her feature debut to carry a personal imprint.
The auteur behind this year's Cannes Film Festival opener 'Leave One Day' had already field-tested the concept of a modern jukebox musical with her César-winning short 'Bye Bye,' but once she got to work expanding the premise — and looking for new tracks — she began to question her very focus.
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'I had originally chosen a male lead more out of habit than intention,' Bonnin explains. 'Once I realized that, I knew I wanted to take a different path. I wanted to bring a specific perspective — that of a forty-year-old woman navigating work, questions of motherhood, and desire. I needed to tell this story through my own lens.'
Bonnin reshaped her musical dramedy around a rising chef, played by French pop star Juliette Armanet, who returns to her rural hometown to confront a family health crisis and an unexpected pregnancy — just days before launching her namesake restaurant in Paris.
In Cannes, Bonnin herself will step into the international spotlight — a remarkable coup for a filmmaker who began in documentary after studying applied arts.
'I've always been drawn to visual storytelling, whether through typography, photography, or illustration,' she says. 'Video only came later, at first as a way to film my own family members and to capture their stories.'
She started down her new path more than a decade ago. While in Canada studying graphic design, Bonnin dipped into a screening of Raymond Depardon's small-town doc 'Modern Life,' simply hoping for a few familiar sights. Instead, she found a cinematic north star. 'I cried through the whole film,' she laughs. Overwhelmed and homesick, Bonnin fished out her headphones and looked for music to match the mood. That moment never faded, directly inspiring her own work.
'I like to create a soundtrack for my life,' says Bonnin. 'We all do — we play music on a road trip, before a date, or alone with our headphones after a breakup. [With 'Leave One Day'], I wanted to bring that feeling to the screen. Not through big musical numbers, but with songs that follow real-life moments. It's playful, and it breaks from traditional storytelling, but it's universal, because we've all been there.'
To create her anthem for the daily grind, Bonnin started by putting together a soundtrack of chart-toppers and Francophone standards. 'Songs that defined my generation,' she says. 'They had to be instantly recognizable right from the start, and above all, they had to be songs the characters would know — like shared memories from their own lives.'
Next, she had her performers belt out each tune live on set, always emphasizing imperfection and spontaneity.
'I can't work in the abstract,' she explains. 'Dubbing was never an option. Every emotion, every inflection had to come from the moment. Capturing what was truly happening in front of us was far more satisfying for the cast and crew — and knowing it's real makes it more powerful for viewers. The joy is immediate.'
'The magic lies in that moment of collective invention — bringing an image to life that couldn't exist any other way,' Bonnin adds, citing Michel Gondry as a key influence. 'It's about building something together, and then watching it unfold in real time.'
Bonnin wrote the film for pop star Juliette Armanet — an immensely popular French chanteuse who made her film acting debut in Bonnin's previous short. This time, the star would never step off-screen, all while navigating the joyful chaos of a film set that cherished imperfection.
'Juliette is used to controlling her singing career down to the millimeter, to singing everything perfectly,' Bonnin laughs. 'So I constantly made her perform in a very different way. She wasn't alone in a booth with headphones just thinking about the song — she had to think about how she interacted with her partner, all while skating backward, all while countless people buzzed around her. There was just too much to take into account, and that suited our needs perfectly.'
And that same approach might continue to suit Bonnin going forward.
'At first, I thought, I've already made a film with songs — so I can't do that again,' she says. 'But now I think, why not? Music lets me step just outside of reality and access a different kind of storytelling. That touch of fantasy brings greater emotion as well.'
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Following up on The Hollywood Reporter's oral history on the blazing success of the series and how it will launch The Testaments, THR spoke with Miller and Moss in separate conversations edited below about how they delivered a satisfactory yet realistic ending to the beloved, timely saga while also setting up the sequel series, which is currently in production. In that near future, Aunt Lydia is the starring character and Chase Infiniti plays Agnes, which we know is the Gilead name given to Hannah, June's daughter. *** Bruce, you recently told me that this is a story about living with what people can't get and how they survive. Before Margaret Atwood came to you with her plan to write sequel novel , were you planning on reuniting June (Moss) with daughter Hannah? Or did that seem like too much of a neat ending for this world? BRUCE MILLER It felt like it was tying it too much in a bow. Given where we started with June, that seemed like a whole other section of her life. This show was about June and her daughter and her husband and how she lost everything, and how she has gradually been pulling a lot of that back together. It's The Handmaid's Tale, not Hannah's Tale. It's focused on June's journey from handmaidness to freedom. The question of how she rebuilds her family felt like a whole other step, which we're seeing is a lot more complicated than just, 'Let's all go to Alaska.' We spent the season with June at first thinking, 'I can dust off my hands and say, 'I'm done.'' [If she stayed in Alaska with her mom and daughter Holly], that's what that would look like: The neat ending. But it didn't end up like that. June threw herself back in — she couldn't walk away from her daughter, Hannah. I think they say it in the book: There's plenty of stories from people who get their kids back. Those are the one-in-a-million stories we always tell. I want to tell the story about the 999,000 people who don't get their kids back. 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Ann has built that slowly, carefully in a believable way over time. Margaret and her are wonderful friends. It's a great pleasure to be able to continue that character [in The Testaments]. If you look at what happened just in this last season — Lydia's at the end of a rope and then she's back already in power by the end, which is totally her! Margaret came to me as soon as she was having the inkling [of writing The Testaments], so it was very early for me to get the information. She let me know as the creator of the world that things might be shifting a little under my feet. The show went past the book, The Handmaid's Tale. So I was trying to come up with an ending that fit well and certainly I was playing with a lot of the things that she talked about doing in The Testaments. But this is called The Handmaid's Tale. It's not June's Tale. It's her time as a handmaid. And at the end, the final episode is that she's not a handmaid anymore in any way, shape or form. 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MILLER Yes, it was in my pitch because it's really the story of the book. It was how you think about her as a character from the beginning. What is that voiceover? Where's it coming from? From the beginning, I was thinking, 'So what we're watching is this box of tapes that someone found, just dramatized.' But it's this box of her story, her tale of being a handmaid. So I said that what I really wanted to do was that when you get to the end, you feel like you understood what you just saw and what it was as a full piece. I'm hoping that it felt satisfying as an ending for this story. MOSS What I connected to with June at the beginning was the same thing I connected with at the very end. She has this quality of wanting to survive, not only as herself, but to create a better future specifically her children but also for the next generation. That is her goal in life. I saw that in episode one, in that first script. I remember calling my mom and telling her that. And it's the same thing in the very last scene. For whatever reason, I'm not a stranger to doing work that somehow ends up becoming a part of the zeitgeist or becoming relevant in a very present way. Those aren't choices that I'm necessarily making on purpose. I've just gravitated towards material that is, for me, personal. This story was personal and my job is to tell the personal side of things, the human side of things. When it then goes out into the world and becomes political or something on such a larger scale, I'm grateful and moved by that. Lizzie, when we at the beginning of the final season, you said this ending was true to Bruce's vision, but that the location shifted. Now I understand why the location was so important. MOSS The original idea was that June would maybe go to that cabin in the woods [that Luke and June hid out in near the border] from [a flashback in] season one, episode seven. June, Luke and Hannah were making pancakes — we call that the 'pancake episode.' Originally, the idea was that June was going to go back there. And actually, before we started shooting, we established that cabin was still there. But then Bruce wrote a different location, and I think it's so much better. Originally, it was written that June goes and sits on the front steps of the Waterford house. And I said, 'I want her to go inside. I think it would be so much more powerful if she goes into that room.' So I talked to Bruce and asked, 'Can we go inside the house?' And he said, yes. He loved it, and so he wrote it so June goes inside the house. MILLER I really wanted the ending to be June back and kind of reclaiming Boston. That old neighborhood was taken away from her, so reclaiming it and going back there is the end of that part of her story. She's back in the same place, but in a very different position. In the book, she records [the tale] in a cabin in Maine and buries it in the ground. Lizzie and I had talked about that and we could have done that here, with her going back into Gilead at the end. But so much of the show had a sense of place and was so connected to Boston. Seeing her walk back through those streets and those places now as a free person is something that, as Alexis Bledel's character says, was impossible. And look, it happened. So we should adjust what's possible and what's impossible. I understand the finale scripts were redacted for the cast, who were only privy to their parts in the episode. Did you, as director, close the set when filming this final scene to keep it under wraps? MOSS I did close the set. Not to keep it secret, but mostly because I needed the set to be a very quiet space that day. When you're shooting the final scene of a show, it tends to attract some attention. So it was actually me as a director protecting my actor, who is me. I needed to be able to do my job that day, which was a very difficult job of ending a series as an actor and pulling off that final moment. So I closed the set for that reason. I also closed the set for the final scene inside the plane in episode nine [Whitford and Minghella's final scene before Lawrence and Nick's deaths]. MILLER It was a big thing to rebuild this [Waterford house] set. You have to make a commitment to the things you really want, and for Lizzie as director and me as a writer and both of us as executive producers, this was one of the things. Budgets are shrinking in Hollywood; our show is not any exception. When you get to the end of a show, you don't have money flying around, so we had to be careful with what we planned because we weren't going to be able to pick anything up afterwards. So we thought very long and hard from the beginning of the episode to make sure we protected that. You reduce the cost by giving [production designer Elisabeth Williams and her team] lots of lead time. But they had a lot of fun building the house interiors again. [The hallway to her room] goes up and down — there's a step up and then a step down. It feels like a [claustrophobic] funhouse staircase. I can't think of another director who filmed themselves in the final scene of a long-running series. MOSS That's a good question. That would be a fun fact to find out. But this cast, this crew has made me a better director. They made me a better actor. They made me a better producer. That post team made me better at what I do because of them. Every time I've been talking with [season six showrunners] Eric Tuchman and Yahlin Chang I tell them how I miss collaborating with them. I don't see why we couldn't at some point come back and do something. What's so great about the landscape now is that we could do something in a few years if we wanted to. There's nothing saying we can't. There are no rules anymore. But I do think where we end it is right. They did a brilliant job of wrapping it up. MILLER Lizzie did such a great job. In these last couple of episodes, she pulled out new elements of her performance as June. It's amazing to do that, six seasons in. That scene with her and Serena [where June forgives her in the finale] is some of the best work [she and Yvonne have] done. It was very natural [for Lizzie to direct and act in the final episode], I think because we had been talking about it for a long time. You'd imagine it being a very internal situation, but she was as communicative with the crew as she always is. It was a group effort so for Lizzie, it was that collective experience she loves. I think there's very few people you can compare to, just on the amount that the show rests on them. In addition to directing and being an executive producer who is ingrained with the show — creatively, she works on so many different levels — I think it makes it easier in that final scene. Both Lizzie and I we're really confident about it. We knew what it was going to be. I wasn't even there. I was very happy for her to do it on her own. I knew she'd get it right, and she did. Lizzie, were you listening to yourself [from the pilot] as you were saying your final lines? MOSS I realized about 10 minutes before we shot it that I wanted to make sure that when I was speaking the final voiceover it matched the original voiceover from episode one. I wasn't sure if I wanted to do that or not, but I realized that I needed to match my mouth to [the pilot words]. We're setting up the final shot of the series, and I went on the Hulu app on my phone to episode one, and I just played it over and over and over again and memorized it in the cadence that I said it. I told our script supervisor that I can't get one word wrong. This has to be word-perfect. Then we did it, and it matches almost perfectly. There's a slight cadence change, when my body's going back and I lean forward, that we were able to fix in post. But what's in the finale is my voiceover from nine years ago. Bruce always told us this show was June's tale, so she survives. Even still, the audience wasn't sure she'd make it through. I rewatched the pilot and knowing what you just said, that's wild and very meta. MOSS Oh, that's awesome. [Using the pilot voiceover] is an idea that I had and I didn't know if it would work, and then it ended up working and it's so cool because there's something slightly disconnected about it that's really interesting. I think almost subconsciously as an audience member, you feel the meta nature of it, especially when she says, 'My name is Offred.' And the [tape recording click] is in the pilot. After the door slams, you hear the click. MILLER The click of the recording at the beginning, we put in the pilot. So we have been thinking about this particular moment since then. I also don't know that there's another IP that got a sequel midway through, which then tasked the show with landing the plane but keeping the world open. MILLER That's the key here. I'm going to have to beg some flexibility. Most of the time, when you're adapting a book, the person who wrote it is not continuing the books. Sometimes they are with Game of Thrones. But most of the time, it was a book written in the past. In this case, there are great things about having Margaret around that outweigh the problem of her being able to change her world a little bit when she wants to. Of course she can do that. But I think the way to look at The Testaments is that The Testaments book is a sequel to The Handmaid's Tale book, and there are things that are different between that and the show; timeline things that end up mattering because you want it to be consistent within the TV world. So [as creator of The Testaments], I'm trying to make a sequel to the TV show The Handmaid's Tale and make that work cleanly. There are things that actually contradict from the book to the TV show, but each adaptation has to be its own thing. You left June — and also Luke, and likely Rita (Amanda Brugel) and Moira (Samira Wiley) — still out there in the ether of this TV universe fighting against Gilead. Moss is an executive producer on but there's no word about an onscreen role. What would you say to people who are hoping June will show up in ? MILLER That's a good thing to hope for. I hope she shows up there, too. She's still doing her job, still doing what she was doing in The Handmaid's Tale. Luke and Moira are still out there somewhere, ringing the bell to get Hannah back. The beauty of having watched The Handmaid's Tale is that you understand there's this huge operation of people who are out there who care and who are risking themselves to get to reunite with their children. The people in The Testaments show don't feel that. But from experiencing Handmaid's, you know there's this whole operation. So is June influencing The Testaments? Absolutely. She's out there. She's trying to get Hannah back. Do we see her? I would love to see her. I love Lizzie Moss, she's awesome! She's very involved behind the scenes. MOSS You're just going to have to watch the show. [Moss is currently filming the forthcoming Apple series Imperfect Women.] I won't be there [on set of The Testaments], which is different as a producer. But I can't not be hands on. I don't know how to do it any other way. And it certainly feels hands on, given the amount of emails! So if we weren't going to get Hannah back, did you always know you were going to give Janine Charlotte back? Thank you for that! MILLER Oh, my gosh. Yes. One of the things I always thought is that little girl looks so much like her. We had talked from the beginning, and a lot of it was about building Naomi and Janine to the point where that would happen. Building to where Naomi knows the one thing about Janine is that Janine is really tough, which she needs to know when she's [giving her daughter back]. Listen, I hope June does get Hannah back. But I'm hoping that people feel like this is the ending to Janine's story [that she deserves]. The fact that I'm not going to be able to work with or see Maddie Brewer every day is impossible to say out loud. MOSS Ever wasn't in that scene originally, and I asked if she could be there. I really wanted her to be a part of it. I felt that it was really important that Naomi is the one who hands Charlotte over to Janine. I felt like that was a story for Ever and for that character that needed to be her ending in the show. That Janine scene just kills me. Could there be a place for Janine in the background fight in ? MILLER I would be thrilled. I think you should imagine that all these people are in the background still fighting to save these girls you see in The Testaments. Fighting, fighting, fighting. As calm as it will seem in Gilead, as sweet and human and beautiful as Gilead is in The Testaments, you know that there are people pounding on the walls from the outside — and you've met those people. One character who may not be in that fight is Serena. I understand you had for her than the one that we saw. MILLER I don't believe 'what people deserve' and all that stuff, but I wanted to kill her. Because I think she was such a horrible person and being dead on the side of the road completely anonymously [after she was pushed from the train in the beginning of the season] would have been a fitting end. I had to be convinced not to throw her off that train, along with the kid. Wow. MOSS Bruce did tell me his thoughts and he told me that he was toying with certain things. I'm not the writer, and I respect the role of the writer very much. So he told me what he was thinking and I thought, 'Okay, that's interesting. Wow, that would be kind of crazy if she didn't make it.' But in my heart, I really wanted to see her survive because I'm Serena's biggest fan. I'm her biggest supporter and defender. I want her to live. I just think she deserves that, and I think Noah [her son] deserves that. MILLER If it was Eva Braun and it was Hitler's kid, what would you do? I don't think anybody would hesitate. But I love what we ended up doing because what I really wanted for most of the characters is to get exactly what they wanted and see what happened. June got a ton of what she wanted and a ton of stuff she didn't expect, including Emily['s return], including reuniting with Luke, who she thought was dead at the beginning of the show. Serena's story really feels like the end of Serena's story, that she is someone who's never going to admit that she did wrong. But you can see how holding onto the illusion that she did right is getting very, very difficult. I love Serena. I love her to the point where I'm so much more mad at her because she should know better. But to see June forgive her in the end felt like it gave the audience permission to accept that as well. MOSS That scene also kills me. I think it's beautiful. I couldn't read [Serena's ending] without crying. I can't watch it without crying. Yvonne's performance is magnificent. Each and every single one of these actors is at the top of their fucking game this season. And she did it in one take. That whole speech when she's talking to the baby. I get chills talking about it. MILLER Circling back to their performances and the new things they all brought out in the final episode, they all did exceptional work. It's unfathomable that they would have these moments that you really feel are completely new and see different sides of the characters at the very last minute. MOSS Yvonne had the idea that she wanted to get to this place of acceptance and place of peace at the end. It would have been very easy to cut that scene shorter, but when we were in the edit I protected it because Yvonne wanted her character to find peace. You see this peace on her face where she realizes Noah is all she needs. That's all Serena ever wanted: Having a baby. I think her ending is my favorite ending in the series. It's so perfect. Did [who left the series after season four] need convincing to come back or was she excited when she got the call from you? MILLER We were both thrilled that it might work out. I think she was really excited when we talked. The only thing that was hard was the logistics to get her up for the time we needed. But no, it was not hard at all, and it wasn't hard to decide to try to see if she was going to be available. It was great having her back that day — except she cried and hugged people every four feet, it seemed emotionally difficult! But it was wonderful to see her and Lizzie get right back into it after all that time. It's like watching the fucking Yankees bullpen every day with these guys. They're so good. MOSS Bruce talked to me about bringing her back a while ago, before there was even an outline or script. I think I said to him at the time, 'You realize now that you've told me that, we have to do it.' It's not the easiest thing in the world to call an actor and be like, 'Can you come back for this one episode?' They're busy. But I was like, 'She has to do it.' I get very passionate about these things! And she wanted to do it from the beginning. She didn't need convincing at all. My first official scene on day one [on set] was with Alexis. So it meant a lot to get to work with her again. (Bledel spoke to THR about her return.) Were there characters along the way who you considered killing but let live? MILLER No, I don't really think about it that way. I think, do they end up in some place where they would die or not? By definition, the handmaid told this story. She had to live to the end, so the story is about her dodging explosions and stuff. That's part of the story. But the other people — I don't ever want to kill anybody, but I know that if I was in this group of people and Janine died, I would never recover. if Janine died and Alma [Nina Kiri] died, I would never recover. TV people die willy nilly. When people in your life die, it changes you. I don't know that June would be the same June if those people would have all been killed off. One of the reasons those people are in her memories is because they didn't die. MOSS I hope people see the positivity [in the ending]. The final piece of music that plays over the credits is so hopeful. The piece of music [we chose] is from season four, when June tells Luke that she's pregnant. It's so much about the future and the future being brighter, and the next generation having a better chance. So the final decision that we made on the series is about the future. Does that mean we should find hope in ? Because it was ambiguous. MOSS Yes. I don't think I was so ambiguous! I definitely felt like there was hope in that future when I was standing there with him. We had this idea to play it like they were flirting with each other, like they had crushes on each other. Like, did they almost go back to the beginning? There's such a circular nature to the finale and absolutely I think there's a lot of hope for the two of them. But I think they have to kind of start again. *** The Handmaid's Tale is now streaming all episodes on Hulu. Read THR's comprehensive oral history on the series, mini oral history on the penultimate episode, story on Serena's changed ending, interview Madeline Brewer on Janine's ending and interview with O-T Fagbenle on Luke's ending. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
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Gotham TV Awards: ‘Adolescence' Sweeps Limited Series Categories
Adolescence topped the 2025 Gotham TV Awards, sweeping the limited series categories and winning three of the four awards for which it was nominated. The four-episode series about a teenage boy accused of murder, which became a much-talked-about phenomenon shortly after its streaming debut in March, won breakthrough limited series and lead performance in a limited series (Stephen Graham) and tied for best supporting performance in a limited series (Owen Cooper). It's fourth nomination was for co-star Erin Doherty in the supporting performance category. More from The Hollywood Reporter Nicole Clemens Hired to Head Amazon MGM's International Originals Tonys: Sarah Paulson on the Truth-Teller Behind the Pulitzer-Winning Play 'Purpose' Gael Garcia Bernal's 'Magellan' Goes to Janus Films Jenny Slate tied with Cooper for the supporting prize, recognizing her performance in Dying for Sex, which was nominated for three awards. Breakthrough comedy series went to The Studio, while The Pitt won breakthrough drama series. The Pitt star, writer and producer Noah Wyle and his castmates Katherine LaNasa and Shawn Hatosy accepted the breakthrough drama honor, with Wyle saying that they were the only ones from the Max show at the event. And as he's done throughout the promotion of The Pitt's first season, Wyle highlighted how the show is a 'love letter to first responders … people in the trenches for the past five years,' his voice getting louder as the well-heeled audience at Manhattan's Cipriani Wall Street applauded. In the comedy categories, Fantasmas' Julio Torres won best lead performance in a comedy series, and Deli Boys' Poorna Jagannathan won best supporting performance in a comedy series. Accepting the first award of the night, Jagannathan joked that the Gotham Awards are the 'only awards that count' and that 'New York City's opinion is the only one I care about.' She thanked her family and the team behind Deli Boys, which she called a 'little brown show' with 'no message … no point to prove.' 'We got to do what a lot of white actors get to do: We got to play dumb fucks,' she added, noting that the Hulu series had yet to be renewed for a second season. 'The fact that we got to be so ordinary was what made it so extraordinary.' As in the comedy categories, in the drama categories, the Gotham TV Awards similarly spread the wealth around, with Matlock's Kathy Bates winning best lead performance in a drama series and Black Doves' Ben Whishaw winning best supporting performance. The Pitt and Matlock were each nominated for three awards, with both shows nominated for breakthrough drama series as well as in the lead and supporting performance drama categories. Neither Whishaw nor Bates were on hand to accept their awards. Pee-wee as Himself won best original film, while Rebel Ridge's Aaron Pierre was named the winner of outstanding performance in an original film. And Social Studies won breakthrough nonfiction series. The Gotham Film & Media Institute also presented a number of tributes on Monday night. Amy Sherman-Palladino and Daniel Palladino as well as Hwang Dong-hyuk received creator tributes; Elisabeth Moss and the cast of The Handmaid's Tale accepted the inaugural ensemble tribute; Brian Tyree Henry received the performer tribute; Sheryl Lee Ralph took home the Sidney Poitier icon tribute; David E. Kelley received the visionary tribute, and Parker Posey was honored with the inaugural legend tribute. Sherman-Palladino and Palladino were honored by Kelly Bishop, Luke Kirby and Gideon Glick, who have each appeared in multiple productions from the team behind Gilmore Girls, The Marvelous Mrs. Maisel and Étoile. All three reflected on their experiences auditioning for the writer-directors. Kirby professed his love for the married creators, saying in part, 'I will love you until the day someone drives a stake into my heart.' And Bishop, who recalled Sherman-Palladino fighting for her to play Emily Gilmore in Gilmore Girls, said the honor Sherman-Palladino and Palladino received marked a 'celebration of a canon of work that has dazzled audiences and critics alike,' adding that the pair's 'determination to create something unique and everlasting in all shows changed TV.' Taking the stage to the Étoile theme, Sherman-Palladino joked about retiring and getting divorced with Palladino quipping that in both cases they needed to keep going because of 'gambling debts.' Posey was honored by her White Lotus co-stars Leslie Bibb and Sam Rockwell who had fun offering their own takes on some of her character's memorable, Southern-accented lines, including 'tsunami,' 'Piper, no' and 'Buddhism.' 'No one sees the world quite the way she sees it,' Rockwell said in part of Posey. Accepting her legend tribute, Posey riffed on the name of the honor, thanking White Lotus creator Mike White for writing her character and 'believing in a legend,' something she also thanked White Lotus network HBO for. 'Let's keep the arts alive. Let's turn this business into entertainment that everyone can love,' she added. 'I love you New York. I wish I could live here again.' This marks the second year in which the Gotham Awards have broken out TV honors with a separate ceremony during Emmys season. A complete list of this year's winners follows. #1 Happy Family USAPam Brady, Ramy Youssef, creators; Pam Brady, Andy Campagna, Mona Chalabi, Ravi Nandan, Josh Rabinowitz, Alli Reich, Hallie Sekoff, Ramy Youssef, executive producers (Amazon Prime Video) English TeacherBrian Jordan Alvarez, creator; Brian Jordan Alvarez, Dave King, Jonathan Krisel, Paul Simms, executive producers (FX / Hulu) Fantasmas Julio Torres, creator; Alex Bach, Olivia Gerke, Dave McCary, Daniel Powell, Emma Stone, Julio Torres, executive producers (HBO | Max) OvercompensatingBenito Skinner, creator; Josh Bachove, Matt Dines, Sam French, Alison Goodwin, Jonah Hill, Scott King, Daniel Gray Longino, Alli Reich, Benito Skinner, Charli XCX, executive producers (Amazon Prime Video) (WINNER)Evan Goldberg, Alex Gregory, Peter Huyck, Frida Perez, Seth Rogen, creators; Josh Fagan, Evan Goldberg, Alex Gregory, Peter Huyck, Alex McAtee, Frida Perez, Seth Rogen, James Weaver, executive producers (Apple TV+) Black DovesJoe Barton, creator; Joe Barton, Jane Featherstone, Chris Fry, Keira Knightley, executive producers (Netflix) ForeverMara Brock Akil, creator; Mara Brock Akil, Judy Blume, Susie Fitzgerald, Erika Harrison, Anthony Hemingway, Regina King, Reina King, Shana C. Waterman, Sara White, executive producers (Netflix) MatlockJennie Snyder Urman, creator; Kathy Bates, Kat Coiro, Joanna Klein, Eric Christian Olsen, Frank Siracusa, Jennie Snyder Urman, John Weber, John Will, executive producers (CBS) One Hundred Years of SolitudeJosep Amorós, Gonzalo García Barcha, Carolina Caicedo, Andrés Calderón, Rodrigo García, Alex García López, Juliana Flórez Luna, Laura Mora, José Rivera, Diego Ramírez Schrempp, executive producers (Netflix) (WINNER)R. Scott Gemmill, creator; Simran Baidwan, R. Scott Gemmill, Michael Hissrich, Erin Jontow, John Wells, Noah Wyle, executive producers (HBO | Max) (WINNER)Stephen Graham, Jack Thorne, creators; Philip Barantini, Emily Feller, Dede Gardner, Stephen Graham, Mark Herbert,, Jeremy Kleiner, Brad Pitt, Jack Thorne, Hannah Walters, Nina Wolarsky, executive producers (Netflix) Dying for SexKim Rosenstock, Elizabeth Meriwether, creators; Nikki Boyer, Kathy Ciric, Elizabeth Meriwether, Shannon Murphy, Katherine Pope, Kim Rosenstock, Michelle Williams, executive producers (FX / Hulu) Get Millie BackMarlon James, creator; Marlon James, Leopoldo Gout, Simon Maxwell, Jami O'Brien, executive producers (HBO | Max) Penelope Mark Duplass, Mel Eslyn, creators; Jay Duplass, Mark Duplass, Mel Eslyn, Shuli Harel, executive producers; (Netflix) Say Nothing Joshua Zetumer, creator; Nina Jacobson, Patrick Radden Keefe, Michael Lennox, Monica Levinson, Edward L. McDonnell, Brad Simpson, Joshua Zetumer, executive producers; (FX/Hulu) Conbody Vs EverybodyDebra Granik, creator; Joslyn Barnes, Debra Granik, Anne Rosellini, Diane Weyermann, executive producers; (Self-distributed) Hollywood BlackJustin Simien, creator; Nina Yang Bongiovi, Jill Burkhart, Shayla Harris, Jon Kamen, Amy Goodman Kass, Kyle Laursen, Stacey Reiss, Jeffrey Schwarz, Justin Simien, Dave Sirulnick, Forest Whitaker, Michael Wright, executive producers (MGM+) OmnivoreCary Joji Fukunaga, Matt Goulding, René Redzepi, creators; Michael Antinoro, Matt Goulding, Ben Liebmann, Collin Orcutt, René Redzepi, Chris Rice, Max Wagner, Mateo Willis, executive producers (Apple TV+) Ren Faire Nancy Abraham, Dani Bernfeld, Ronald Bronstein, Eli Bush, Lisa Heller, David Gauvey Herbert, Lance Oppenheim, Sara Rodriguez,Benny Safdie, Josh Safdie, executive producers (HBO | Max) (WINNER)Lauren Greenfield, creator; Frank Evers, Lauren Greenfield, executive producers (FX/Hulu) Ted Danson, A Man on the Inside (Netflix)Anna Lambe, North of North (Netflix)Saagar Shaikh, Deli Boys (Hulu)Benito Skinner, Overcompensating (Amazon Prime Video)Julio Torres, (HBO | Max) (WINNER) Kathy Bates, (CBS) (WINNER)Sterling K. Brown, Paradise (Hulu)Aldis Hodge, Cross (Amazon Prime Video) Lovie Simone, Forever (Netflix)Noah Wyle, The Pitt (HBO | Max) Stephen Graham, (Netflix) (WINNER)Brian Tyree Henry, Dope Thief (Apple TV+)Cristin Milioti, The Penguin (HBO | Max)Megan Stott, Penelope (Netflix) Michelle Williams, Dying for Sex (FX / Hulu) Poorna Jagannathan, (Hulu) (WINNER)Linda Lavin, Mid-Century Modern (Hulu)Sean Patton, English Teacher (FX / Hulu)Timothy Simons, Nobody Wants This (Netflix)Chase Sui Wonders, The Studio (Apple TV+) Katherine LaNasa, The Pitt (HBO | Max)James Marsden, Paradise (Hulu)Skye P. Marshall, Matlock (CBS)Ben Whishaw, (Netflix) (WINNER)Olivia Williams, Dune: Prophecy (HBO | Max) Owen Cooper, (Netflix) (WINNER – TIE)Erin Doherty, Adolescence (Netflix)Taraji P. Henson, Fight Night: The Million Dollar Heist (Peacock)Diego Luna, La Maquina (Hulu)Jenny Slate, (FX / Hulu) (WINNER – TIE) Bridget Jones: Mad About the BoyMichael Morris, director; Tim Bevan, Eric Fellner, Jo Wallett, producers (Peacock) Ladies & Gentlemen…50 Years of SNL MusicOz Rodriguez, Ahmir 'Questlove' Thompson, directors; Oz Rodriguez, producer (NBC) (WINNER)Matt Wolf, director; Emma Tillinger Koskoff, producer (HBO | Max) Rebel RidgeJeremy Saulnier, director; Neil Kopp, Jeremy Saulnier, Vincent Savino, Anish Savjani, producers (Netflix) Sly Lives! (aka The Burden of Black Genius)Ahmir 'Questlove' Thompson, director; Eric Macdonald, Derik Murray, Joseph Patel, Stephen Sawchuk, producers (Hulu) Aunjanue Ellis-Taylor, The Supremes at Earl's All-You-Can-Eat (Searchlight Pictures/Hulu)Dylan O'Brien, Caddo Lake (HBO | Max)Aaron Pierre, (Netflix) (WINNER)Phoebe-Rae Taylor, Out of My Mind (Disney+)Renée Zellweger, Bridget Jones: Mad About the Boy (Peacock) This story was first published on June 2 at 4:18 p.m. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
